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What does it take to survive a night among the living dead? Anyone familiar with George A. Romero’s classic 1968 film Night of the Living Dead knows your chances really aren't that good.
Until October 27, Nictophobia Films is bringing the genre changing horror film to the stage with Night of the Living Dead Live! at the Theatre Passe Muraille to celebrate the iconic film and explore the chances of surviving a night among the undead.
Let us set the scene. Theatre Passe Muraille is situated down a quiet old Toronto back street, away from the noise and crowd of Queen Street, in a big old building that looks like an old firehall (but was originally a bakery built in 1902). The creep factor already sets in before the show even starts.
Night of the Living Dead Live! starts off much the same as the film does, with Barbra (Gwynne Philips) and her brother Johnny (Andrew Fleming) visiting their father’s grave. Barbara is noticeably uncomfortable in the graveyard; something Johnny takes advantage of by teasing that “They’re coming to get you, Barbra”.
Barbra is attacked by a strange zombie-like man (Trevor Martin), who Johnny tries to fend off but he falls and bashes his head killing himself. Barbra flees to a farmhouse where she discovers a woman’s mangled corpse, screams and that’s when Ben (Darryl Hinds) enters to try and calm her down. Barbra slowly descends into a shock-driven comatose state as Ben begins boarding up the doors and windows.
While taking cover in the farmhouse, Ben and Barbra meet Harry (Mike Nahrgang) and Helen (Dale Boyer) Cooper, who have been hiding out in the cellar with their daughter Karen and teenage couple Tom (Andrew Felming) and Judy (Dale Boyer). This is where it all starts to go downhill.
This is the point that you notice the character list has started to outnumber the cast list. With a cast of only six, each person is relied upon to play multiple roles, seamlessly pulling off quick costume changes, having to be on one side of the stage one moment and then directly across the stage a half a second later. We’re always so impressed by the talent and organization this kind of acting requires. Props to Dale Boyer particularly, who was called upon as two main characters often having to quickly transform from one to the other in the same scene multiple times.
The classic film is iconic in black and white, something the production team decided to try to incorporate into the play. Each character was wearing a layer of white-ish makeup, turning themselves a black-and-white film colour of grey. The stage set was created with subtle blacks and greys and whites causing a similar black-and-while tv feel and the video screen projection used throughout vital scenes was vintage looking, intertwined with actual clips from the film. This whole feel played out extremely well and was very cool to watch.
Instead of using the entire run of the play to take us through the movie scene for scene, Night of the Living Dead Live! is done through a series of multiple endings, where the characters are all faced with different issues and challenges as they desperately try to survive the night. The play starts at the beginning, with the local Sheriff coming to inspect the farmhouse scene. He and his deputy run through theories of what could have been done differently to help ensure their survival and each theory is played out – to their endless demise – in front of us on stage, each scenario cleverly incorporating elements from the film for the audience's amusement.
The entire production is incredibly well done and the concept is quite cool. We don’t think enough people know that this play exists; we were supremely surprise by how many empty seats there were at last night’s production.
If you’re at all into zombie culture or classic horror films or are just looking for an interesting, unique night out, Night of the Living Dead Live! is something you need to see before it’s too late.
Tickets are currently on sale.
images from official website
Looking at the Mirvish lineup this season, the Book of Mormon may not grab your attention. A religious musical is probably not everyone’s cup of tea and who wants to sit in a theatre for 2.5 hours learning about something that the majority of people run away from on the street when stopped by one of their missionaries?
But when you add the names Trey Parker and Matt Stone, the creators of South Park, to the credit line, suddenly the play pulls in tons of media buzz, tickets sell out immediately and everyone raves about what a hilarious, fantastic show it is.
Somehow we managed to get tickets for Wednesday and Thursday night shows when a couple of last minute tickets were released a week ago. Think of it as an early birthday present for Veronica (who celebrated another year on May 1).
The satirical musical pokes fun at organized religion, an exaggerated and extended take on the South Park “All About Mormons” episode, telling the story of two young Mormons, Elder Price (Mark Evans) and Elder Cunningham (Christopher O’Neill) missionaries sent to a remote village in northern Uganda. Painfully optimistic, the two missionaries set out to share the Book of Mormon with the villagers and change the world.
However, they have trouble reaching the locals, who are more worried about poverty, AIDS and the brutal warlord General Butt F*cking Naked, who believes that all of the clitorises in the villages will "power up" and destroy him (General Butt F*cking Naked, by the way, is based on an actual person).
Full of ridiculous musical numbers, flamboyant colours, Lion King references and a kick ass Mormon Hell Dream sequence, the theatrics that animation gives you the freedom to create with is successfully brought to life right before your eyes.
O’Neill is totally lovable as the geeky Elder Cunningham, with an over the top affection and appreciation for the companionship of Mormonism. He bounces around the stage with an adolescent exuberance that you can’t help but smile at. Evans shares a similar enthusiasm, but in a more driven, I’m made for success kind of way.
The surprising star, however, is Samantha Marie Ware, who plays the African heroine Nabulungi (or something, no one ever seems to remember). Embracing a childlike innocence and wonder, Ware is really the heart of the play, creating the intimate connection between the Elders and the Ugandans, opening up the hearts and minds for spiritual change.
Eavesdropping on audience members during intermission, an audience that contained surprisingly more grey hair than one would expect, the words “shocking” and “rude” came up a few times. Going back to the credit line, what do you expect from the creators of South Park? If that’s what you’re focusing on in the entire musical, you’re kind of missing the point. Ironically, there is a scene in the show that mocks that kind of selective focus, which is probably aimed at those types of viewers. Consider yourself told.
Don’t fret, though. You don’t have to be a fan of South Park or even appreciate its humour to enjoy this show. While it is similar, Book of Mormon stands on its own. And let’s face it, it’s a bit of a more toned down, mainstream-friendly book of jokes and jabs. It’s a great show, but if you’re expecting the ultimate South Park episode that will leave you utterly shocked and appalled, adjust those expectations and you’ll enjoy it far more.
Unfortunately, the Book of Mormon is sold out and has been for some time, though you can still rush the theatre doors before each show and try your luck at the ticket lottery.
Images from Google Images
The unfortunate thing about seeing the same play multiple times by multiple casts is that you know what to expect and more often than not, there are some pretty big shoes to fill. A long time ago, before the existence of this very blog, we first saw Rock of Ages at the Royal Alexandra Theatre and it blew us away. The glitter, the hilarity, the strong Canadian cast... it’s really hard to top that. The 2012 film adaptation, however, strips the story of everything that made it special and kind of ruined the whole appeal for us.
Last night, Rock of Ages returned to Toronto once again with a touring cast for a short run at the Sony Centre for the Performing Arts and we were hoping that it might reignite that feeling inside for men in tight pants and epic 80s power ballads.
We’re very familiar with this venue from a musical standpoint and were interested in how it would house a theatrical production that isn’t just a rock and roll show. The show plays out very much the same, same old story, same old songs, but it did seem to take on more of a rock and roll vibe at the Sony Centre.
Maybe it was just the influence of the venue or maybe it was because people are far more familiar with the production this time around, but the crowd was really into it, shouting, singing along, and screaming. It was a lot louder and a lot more interactive than the Royal Alexandra production, which increased the energy and the overall feel of the entire production.
The sound, however, kind of faltered. There were a few technical glitches during some of the scenes with some interference in the mics cutting off the performers and at certain points during the show; you could hardly hear a voice over the band. But it was opening night; it’s hardly going to go off without a few bumps in the road. Luckily, those bumps did little to derail the show from its path to awesomeness.
Our lovable narrator, Lonny (Justin Colombo), was drinking in the crowd’s energy and using it to fuel his raunchy sidekick role from start to finish. Blessed with delivering some of the play’s best lines, Lonny kept things moving right along at a quick, entertaining rate, dragging Drew (Dominique Scott) and Sherrie (Shannon Mullen) through their rocking love story.
Scott and Mullen both fell a little shy of Canadian power duo Yvan Pedneault and Elicia MacKenzie, but they fit incredibly well together and carried the show with the fierce confidence you expect from budding rock stars on the LA strip. Their bashful flirtations and misplaced anger bounced off each other in a delicious mix of chemistry that has you rooting for them through the whole production, even when you already know how the story ends.
Rock god Stacee Jaxx (Universo Pereira) is one of our favourite characters. It could be the long, flowing blond hair, those tight pants or his chiselled abs, but his rock bottom drunken ego and cowboy hat lures us in every time. Pereira’s arrogant strut and powerful performance of Wanted Dead or Alive was a fan favourite as well.
The second act, however, pulled out the big guns and stirred up a louder roar of laughter and audience hollering. Particularly the flamboyant rebellious Hit Me with Your Best Shot number performed by Franz (Stephen Michael Kane) and Regina (Megan McHugh) in matching blue and silver spandex suits. It’s not something that can ever properly be described in words, you have to see it to believe it.
And then there was also the other romance story, or should we say bromance story, between Lonny and Dennis (Jacob L. Smith), which is beautifully explored during the choreographed number to I Can’t Fight This Feeling, complete with lift. Colombo and Smith create a hilarious but also rather touching and emotional relationship between the two long time friends, it almost breaks your heart that it took them that long to finally confront those feelings they’ve long since been harbouring.
From that point forward, they toss out song after rocking song, tying together all the loose ends right up until the happy ending and the final number – Journey’s Don’t Stop Believing. Everyone was on their feet, glittered confetti was being shot out into the audience, not a single foot stood still as the Sony Centre turned into a concert venue and everyone rocked out through that final song.
So, it may not ever compete with the Rock of Ages of 2010, after all, there’s always something special to be said about your first time. But Rock of Ages at the Sony Centre by far surpasses the movie adaptation and is still nothin’ but a good time.
Rock of Ages is only running until March 24, so act fast, this is the final countdown.
images from the Rock of Ages Facebook page
Over the years, we’ve made it a long running tradition to hit every seasonal production at Hart House Theatre. We’ve had a pretty good run, which is why even though Veronica has taken off to the warm and sunny skies of Vietnam, Ashley still attended opening night of their latest production, BENT on Friday.
One of the more political plays on the Hart House docket, BENT is based on the 1979 play of the same name by Martin Sherman which revolves around the Nazi persecution of homosexuals and the significance of the pink triangle, a concentration camp badge used to identify prisoners who were sent there as a result of their sexuality.
A story of love and the struggle to survive, BENT follows the colourful Max (Liam Volke) as he and his boyfriend Rudy (Jordan Gray) flee Berlin after a confrontation with some of Hitler’s men. The lovers are arrested and sent to Dachau concentration camp, where they meet Horst (Jad Farris). Straining to maintain tolerance and human dignity under horrible circumstances, Max and Horst develop an intimate relationship in the least intimate of situations and eventually learn the dignity and power in knowing what or who one is.
While everyone shines on the darkened stage, it’s the relationship between Volke and Gray that really stands out. The chemistry they create between each other without even having the luxury of looking at each other is a powerful thing. And the resilience they show by spending the latter half of the play repeating the same monotonous movements over and over and over again is pretty impressive.
As the show comes to a close and the intensity has built to its highest, you’re feeling the pain and overflowing emotion that the two are experiencing on stage. BENT is genuinely a powerfully political play that will hauntingly linger well after the curtains close.
The remaining performances are Wednesday March 6 – Saturday, March 9 with a preshow artist chat on Saturday at 1pm. Buy tickets.
images by Daniel DiMarco from official website
Hart House kicked off the New Year with Robin Hood: The Legendary Musical Comedy last week and by golly, it just might be one of their best productions to date.
A merry take on the familiar legend of Robin Hood and his Merry Men, the Canadian-made Robin Hood: The Legendary Musical Comedy lightly resembles Robin Hood Men in Tights and Disney’s Robin Hood, filling in the gaps with witty songs and pop culture references to beautiful things like Star Wars, Diff’rent Strokes and 80s band Foreigner. If the laugh-induced snorting from the woman behind us is any measure, this production is packed full of hilarity that will have people of all ages in stitches from start to finish.
Daniel James proudly donned those tight green tights to be our hero – no, no, legend – Robin Hood. With a cocky air of confidence, James perfectly executed many thieving plans, one of which included him dressing up in a French maids outfit for a flirtatious duet with the Sheriff of Nottingham.
Speaking of the Sheriff, William Foley’s take on the lawful rat of Sherwood Forest had him looking much like Wolverine, but with a strange obsession for furry woodland creatures that resulted in a man-sized chipmunk costume and strange woodland ballet scene that, granted, was hilarious and borderline strange.
Robin’s Merry Men were questionably borderline on their own: Will Scarlet (Kelly McCormack) was a strong, fiery woman determined to win Robin Hood’s affections despite his disinterest; Little John (Andrew Dundass) had a bold display of chest hair, even as he wore a maiden’s dress; Friar Tuck (Benjamin Kyte) was just drunk; Len (Kenton Blythe), Ben (Jeremy LaPalme), Ken (David DiFrancesco) and the Glen’s (Margaret Evraire and Stephanie Schmid) each had their own merry quirks. And then there was Sven (Simon Rainville), we cannot forget about the delightful dingbat Sven, who stood out among all other Merry Men like he was from some other planet... (spoiler alert: he was).
Despite all the antics this group of tight-wearing misfits got caught up in, it was Prince John (Kevin MacPherson) who really caused the biggest reaction from the audience. Eerily similar to the sulking, animated lion in Disney’s Robin Hood, MacPherson’s aloofness, gullibility, and downright oddness created one of the more comical characters we have seen on stage in a while. Every stage exit was a comical bit (Stratford Twirls, Godzilla chasing Japanese tourists) and every interaction created an amusing opportunity for MacPherson to let his freak flag fly.
Granted, the vocal talents weren’t necessarily the strongest, sometimes the band or the background vocals overpowered the songs, but the clever lyrics and genuinely funny story and characters overpowered that small setback.
This tongue-in-cheek musical has only two weeks left, wrapping up on January 26. Get your tickets soon; you don’t want to miss this.
images from official hart house website
It wasn’t until we walked into the Ed Mirvish Theatre last night and up along the Yellow Brick Road did the excitement for what I was about to witness hit me. I was suddenly struck with a flash of childhood memories, of old heartfelt songs and all of the magic that creates the wonderful world on the other side of the rainbow that Dorothy discovers in the Wizard of Oz.
Like the children around me, I sat in anxious anticipation for the play to start, wondering how they would possibly be able to pull off the same feeling as the movie, which the program said they were hoping to replicate, using the same MGM script and aesthetic.
The play opened on a very simple set, a plain farm house where we see Auntie Em (Charlotte Moore) and Uncle Henry (Larry Mannell), along with the farm hands, busily working away. The look was very muted and grey; everything was kind of passive, reproducing the black and white from the beginning of the classic film.
We are quickly introduced to Dorothy (CBC's reality show winner Danielle Wade) and her little dog Toto, distraught over their wicked neighbour Miss Gulch, who has threatened to have Toto put down. Distracted by a crisis on the farm, Auntie Em and Uncle Henry don’t have time to listen to her pleas, nor do the farm hands, and Dorothy is left with no other choice but to run away.
Cue Professor Marvel (Cedric Smith from Road to Avonlea you guys! Who is later The Wizard) and the legendary tornado. You can tell a lot of passion and effort went into making this play come to life in an authentic way. Instead of trying to somehow pull off a theatrical wind storm on stage, this production relied on a projected tornado image that played on a thin screen that would drop in front of the performers.
This effect gave the illusion of a full, chaotic tornado that grew more opaque as 
it did fierce, tossing projected farm items around and finally blocking out the entire stage with a windy disaster so that when things finally calmed down, what appeared in place of Kansas was a whole other world.
The transition from Kansas to Oz was flawless and impressive, the change from the dull grey farm scene to the exuberant Oz was as miraculous as seeing the film change to Technicolor for the first time. The colours of Oz were vibrant and eccentric; the entire scene seemed kind of like a crazy acid trip. We weren’t in Kansas anymore.
This is the point where everything begins. We meet Glinda the Good Witch (Robin Evan Willis), the Munchkins and get our first look at the Yellow Brick Road, where Dorothy runs into her soon to be new friends Scarecrow (Jamie McKnight), Tin Man (Mike Jackson) and Lion (Lee MacDougall) before taking off to see the Wizard.
The entire cast is strong; I haven’t seen a production in a long time where each and every cast member has a powerful voice and a well defined character that steals the spotlight every time they step up to the stage. McKnight’s raggedy Scarecrow provoked a number of laughs with his faulty memory and lighthearted skip (not to mention completely adorable, I mean, for a Scarecrow. Dorothy, I would miss him the most too!), Jackson’s Tin Man always had a heart, you could tell a lot of it went into his character, and MacDougall’s Lion, of course, was nothing short of a roaring laugh as he strutted around stage in probably the best made lion costume I have ever seen.
Square that off with Wade’s Dorothy, who not only had an amazing voice, but wore those ruby slippers with the same confident wide eyed air of Judy Garland, and you have one fierce foursome. That old Witch never stood a chance.
Speaking of which (witch?), Lisa Horner was devilishly good as the Wicked Witch of the West. She had a cackle that sent shivers down your spine and the fearsome presence you would expect from such a vile creature. The mad-scientist like hair she had going on during the midpoint of the play just added to the entire frenzied aura. And her flying monkey companions may as well have been real monkeys; they looked and moved so gracefully. Every dark, sinister scene with this combination was dramatically delicious.
Musically, all your favourite Wizard of Oz numbers were included and performed without question. The entire production seemed to pull together just as easily as if you were to plop down in front of your television and turn on the classic movie. I couldn’t have asked for a better performance of a perfect play.
The Wizard of Oz runs until January 20 at the Ed Mirvish Theatre.
Images from official website, photography by Cylla von Tiedemann
What happens when the Lower Ossington Theatre unleashes a group of stranded British school boys on a makeshift island stage with no adults and no rules? Well, their sense of civilization crumbles; they get really dirty and dance around in their underwear. And last night, we had a front row seat for all this chaos.
Whether you read the William Golding classic in school or on your own accord, most people know the story of Lord of the Flies and are familiar with school boys Ralph (Jeff Dingle), Piggy (Micky Myers), Jack (Lindsay Robinson), Simon (Kyle Murray) and the rest of their unfortunate gang. You can probably clearly remember their exploration of good vs evil, of right vs wrong, and how everything takes a terrifying turn for the worst the longer they are on that island, because that terrifying turn is the kind of nightmare that you just can’t quite shake.
This production does a fantastic job of bringing these horrors alive in front of your eyes, much thanks to the strong performances from these young, relatively new faces to the theatre scene. Jack’s decent into madness was perfectly portrayed by Robinson, whose eyes seemed to literally darken as his sanity slowly slipped away. Murray had his own shining moment as Simon wandered off into the forest and stumbled upon the rotting pig’s head, which sent him into his own troubling fit.
The dynamic between Dingle’s Ralph and Myers’ Piggy was just as complicated as we remember. Myers captured that tricky balance between a loveable and hateable character, straddling that line of annoyance perfectly, leaving you uncertain whether you feel sorry for Piggy or not. But your heart really goes out to Dingle, who as Ralph, is just trying to do what is right, survive and be rescued. Poor guy didn’t stand a chance up against that pack of wild school boy hunters.
These performances, alongside the distressing story line and atmosphere of the small studio theatre really made for a creepy, unsettling theatrical experience. There were certainly scenes that caused us to hold our breath and hide in the safety of the dark shadow of the audience as the blood-painted hunters crept across the front of the stage with torches and a hint of insanity in their eyes, literally right in front of us. It’s enough to make you empathize with Ralph and pray for someone, anyone, to rescue you.
Lord of the Flies is on stage at the Lower Ossington Theatre until December 9. If you miss this production, well, sucks to your asmar.
images from google images
Join international artist Laurance Tan and his musical friends for Butterfly Up High... An Evening of Song with Laurance Tan and Friends on Saturday, October 20 at 7:30pm at the Betty Oliphant Theatre (400 Jarvis Street) for a night of original songs, crossover hits and classical show tunes that music lovers of all tastes will enjoy.
Produced by Laurance Tan and directed by Pierre Tetrault, former Artistic Director for Young People’s Theatre, Butterfly Up High is not just a formal recital, it is a colourful production featuring beautifully-orchestrated musical numbers and vocals combined with solo performances by violinists, pianists and cellists accompanied by the interpretative artistry of Contemporary dance, Flamenco and Middle-eastern belly dancing.
Butterfly Up High represents Laurance’s personal metamorphosis and rebirth. It marks his joyful return to the stage from a forced retirement due to the loss of his singing voice after the strain of continuous performance. Over the past two years, Lawrence has undertaken an intensive program of voice restoration and re-training in New York City with renowned opera singer and teacher, Dorothy Stone. He is now ready for his comeback to the performance stage, and to share with you this evening of musical celebration alongside many of his talented friends, including Miss Dorothy Stone.
Musical pieces range from contemporary operas including songs from Les Misérables (Bring Him Home) and The Phantom of the Opera (Music of the Night), to music from around the world sung in different languages, to original compositions by Laurence Tan such as Lillie, My Soul Must Be Freed and A Heart, A Home. Many numbers incorporate multiple languages, such as Island Medley (English, Mandarin and Malay), Parla Più Piano/Speak Softy Love (Italian and English), Historia De Un Amor (Spanish and Mandarin) and Bon Voyage (Japanese, Mandarin and English).
Butterfly Up High... An Evening of Song with Laurance Tan and Friends features:
Laurance Tan - vocalist
Ray Hanson - vocalist
Dorothy Stone - soprano
Michael Berkovsky - pianist
Thomas Osuga - pianist
Sho Omagari - violinist
Matt Pickart - violinist
Matt Kolodzieki - cellist
Je-an Salas - main principal dancer
Anjelica Scannura – Flamenco and belly dancer
Tickets are $35 for general seating and are available by visiting www.uofttix.ca or calling (416) 978-8849.
Images (c)Laurance Tan
To be or not to be, that was the question. The legendary question Hamlet asked in the opening of William Shakespeare’s Hamlet as he descended into madness, questioning the importance of his own existence and whether it was nobler to suffer one’s afflictions or put an end to them.
What happens when you expand on that simple, well-known question? You see the basis of the tragic comedy Rosencrantz and Guildenstern Are Dead form in front of you, as we did last night at Hart House Theatre to kick off their 2012/2013 season.
The play itself expands upon the exploits of Rosencrantz (Jim Armstrong) and Guildenstern (Andrew Knowlton), two minor characters from Hamlet, and takes place “off stage” of Hamlet, with the main characters making only brief appearances in this rendition. Merging the two plays together, Rosencrantz and Guildenstern spend the majority of Rosencrantz and Guildenstern Are Dead voicing their confusion about the roles they are being asked to play in the story of Hamlet, as they have no actual direct knowledge of what is occurring in that play.
Get it? Got it? It might be a bit hard to swallow, which is fitting to the play itself, full of endless nonsensical ramblings between Rosencrantz and Guildenstern as they flip back and forth between understanding and confusion, between clarity and ambiguity. They can’t rely on their own memories, they often confuse their own names (as do the other characters in the play) and while they do uncover deep philosophical truths, they turn their backs on the ideas as quickly as they formed.
The voyage of these two clowns, literally as they travel to England and philosophically as they travel toward accepting their despondent fate, is one hell of a ride. But a hilarious one at that. It would be so easy to see this existential train go flying of the tracks creating a cloud of confusion for the audience instead of its characters, but it’s crafted so tightly that there is no chance of that happening.
The chemistry between Armstrong and Knowlton is potent; they feed off each others energy, they push each other one step further and have such a natural reliance and trust in the other that the senseless interactions, the games of Questions, the endless philosophical conversations take on a life of their own. It’s not hard to believe the two characters have been friends since childhood; the actors make it look so easy.
Benjamin Muir takes on Hamlet’s decent into madness with a reminiscence of a Johnny Depp-like character with a bit of Prince flare, which we have no complaints about. His overdramatic theatrics added a little lightness to the otherwise dark comedy.
While David Tripp added another level to the Player, commanding a group of misfit Tragedians and often embarking on his own vibrant rants about the pains of being an actor.
To be or not to be, that question, lingers throughout the play, along with many other philosophical themes that make this more than just a night out at the theatre. But for those who don’t shy away from the analysis of life, its meaning, and one’s place in it, Rosencrantz and Guildenstern Are Dead asks all the important questions. The answers, of course, depend on you.
Rosencrantz and Guildenstern Are Dead has its final run this weekend at Hart House Theatre: Friday @ 8pm, Saturday @ 2pm and 8pm. Tickets: Adults $25, Students and Seniors $15 at UofTix.
Images from Hart House Theatre.
